Luciano Berio dedicated his “Sequenza VII”, which was composed in , to the oboist Heinz Holliger. The version of this piece published here was arranged. Berio Sequenza VIIb (soprano). How hard is this supposed to be? I’m working on it right now and trying to get it exactly as written on the page.

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Berio Sequenza VIIb (soprano)

Last edited by Rick; at He gave a lecture recital on this and Andrew Mead’s Scena. I started this piece The Sequenza becomes in fact the generator of new instrumental lines, which in turn make explicit its latent polyphony around a pivot — an ever-present B — that puts into perspective all the subsequent harmonic transformations.

The articulations should be light and sound effortless. Compositionally speaking, Berio is interested in sound fields of both a horizontal and vertical nature. A friend of mine at Michigan, David Reminick, did extensive study on this piece. I’m trying to get it memorized for DMA auditions this year.

Results 1 to 20 of Folk Sequnza Sinfonia A-Ronne.

I need as many as can be found. Since many of the rhythms of the piece may look confusing, this is an invaluable tool for keeping interpretations honest. Retrieved July 15, Bookmarks Bookmarks Digg del.

There must be more people who have played it on here!! You must work this until a happy-medium is found, and your tongue is moving the bare minimum necesary to accomodate the intervals. The edition includes the original and an edited version by Leclair. Berio VIIb – Accuracy: Berio’s Chemins series took several sequenzas and placed them in orchestral settings in order to give “a commentary organically tied to it and generated by it.


Anyone have any leads on other good ones? I used a rear projection screen that shot a reversed image of the sequenzaa on the screen from behind similar to the way a television screen works. Sorry for the tangent, here are some pics of my sequenzw if you’re interested.

Does anyone else notice the abundance of very talented young classical saxophonist out there, I heard some kid auditioned with this piece at a very well know saxophone school for their undergraduate program! Several instances occur in Line 2, m. I recall a student of Otis Murphy telling me he has an vii packet of fingerings different from Lauba’s for Steady Study on the Boogie. Last edited by observer; at If there was something in the middle of the S90 If only Selmer had made a Larry Teal for soprano All times are GMT.

I know this might be a shot in the dark, but are there any Chicagoans that have access to this recorded performance? And I noticed that this was your first post.

Luciano Berio: Sequenza VII (arranged by: Claude Delangle)

Also, I replied to your pm Angel. This is true for a lot of our hard contemporary and even non-contemporary works. I would say that you should really take your time learning it Then slowly begin to insert the “goo”-syllable sequuenza, taking note of how the production may pull your tongue away from the proper position for single-tonguing.

It can be frusterating to tinker with, but well worth the time.

Sequenza VII – Wikipedia

This allows a nice single-tongued accent at the end of these phrases, rather than having to end on a “goo. Sorry for not putting this all in one post!

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I wasn’t there because I had to work, but I heard it was astonishing. Jacqueline Leclair breaks down the piece into three sections. I think I did that in a few sections for the same reason.

My double tonguing is very poor, esquenza I worked my single tongue exercises day and night Once this is established, speed will come in time. The that I play gives me easy dynamic flexibility and a dead even scale up to altissimo D, but low note articulation is a bit iffy unless I’m voicing like a kung fu voicing master and the reed has dequenza worked on a bit.

Compositions by Luciano Berio Solo oboe pieces Serial compositions compositions Contemporary classical compositions. I’ve seen it done with crystal glasses, the hum of a tuner and even heard of someone using a bagpipe for the drone.

I also have a good one of Delangle playing it berrio with orchestra though it is not Chemins. For much of the piece, Berio notates measures in seconds instead of bars[4] although there are some sections of the work that use traditional rhythmic notation. For these passages, keep your syllables as light as possible, “Doo-Goo”, so that you are imperceptibly altering the airstream.

A Garland for Dr. Berio Sequenza VIIb soprano. Centro Studi Viibb Berio.

Angel, Yea, I have done so as well. In his instructions on the score, Berio writes.